Movie Name : Jodhaa Akbar
Year of Release : 2008
Release Date : 15 February 2008
Genre : Action, Drama, Romance, Epic

Banner : Ashutosh Gowariker Productions
Presenter : UTV Motion Pictures
Producer : Ronnie Screwvala, Ashutosh Gowariker
Executive Producer : Sunita A. Gowariker

Co-Producer : Zarina Mehta, Deven Khote, Ronald D'Mello
Director : Ashutosh Gowariker
Cast : Hrithik Roshan, Aishwarya Rai, Sonu Sood, Punam S. Sinha, Raza Murad, Kulbhushan Kharbanda, Suhasini Mulay, Ila Arun, Rajesh Vivek, Pramod Moutho, Surendra Pal, Visswa Badola, Pramatesh Mehta, Shaji Choudhary, Manava Naik, Disha Vakani, Abeer Abrar, Indrajit Sarkar, Aman Dhaliwal, Nikitin Dheer
Music Director : A. R. Rahman
Lyricist : Javed Akhtar
Cinematographer : Kiran Deohans
Story Writer : Haidar Ali
Dialogue Writer : K. P. Saxena
Screenplay Writer : Haidar Ali, Ashutosh Gowariker
Editor : Ballu Saluja
Art Director : Nitin Desai
Production Designer : Nitin Desai
Action Director : Ravi Dewan
Costume Designer : Neeta Lulla
Sound Designer : Stephen Gomes
Background Sound : A. R. Rahman
Make-up Designer : Madhav Kadam
Line Producer : Lawrence D' Souza
Choreographer : Chinni Prakash, Rekha Chinni Prakash, Raju Khan, Ash Kumar
Playback Singer : Bela Shende, Mohammad Aslam, Bonnie Chakraborty, Javed Ali, A. R. Rahman, Sonu Nigam, Madhushree
Publicity Designer : Epigram
Visual Effects : Pankaj Khandpur, Sherry Bharda, Vishal Anand

Synopsis :
Ashutosh Gowarikers Jodhaa Akbar is the story of the greatest Mughal emperor that ruled Hindustan (now India), Jalaluddin Mohammad Akbar, and a fiery young Rajput princess, Jodhaa. Set in the sixteenth century, this epic romance begins as a marriage of alliance between two cultures and religions, for political gain, with the Hindu King Bharmal of Amer giving his daughters hand to a Muslim Emperor, Akbar. When Akbar accepts the marriage proposal, little does he know that in his efforts to strengthen his relations with the Hindu Rajputs, he would in turn be embarking on a new journey - the journey of true love. From the battlefield where the young Jalaluddin was crowned, through the conquests that won him the title of Akbar the Great (Akbar in Arabic means great), to winning the love of the beautiful Jodhaa, Jodhaa Akbar traces the impressive graph of the mighty emperor and his romance with a defiant princess. With Hrithik Roshan as Akbar and Aishwarya Rai as Jodhaa, the film is produced by Ronnie Screwvala and Ashutosh Gowariker.
Download:

http://rapidshare.com/files/139025321/JA_PDVD.part01.rar

http://rapidshare.com/files/139025309/JA_PDVD.part02.rar

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Password:Rohit53

In many ways, it takes away from this genre because the restrictive and coy, which made these films all the more sumptuous and the characters more tempting and engaging, is being steadily replaced by the fast-paced; a screen full of short skirts, bare midriffs and even barer plots. Whereas before, the viewer could get drawn into a plot and feel at the edge of their seat when the lead actors are on the edge of a kiss (maybe this time it'll happen?), now everything is given at face value. Pun intended. Directors and producers seem to think that less creativity/ plot/ script plus less clothing equals big money. It's been true so far, and who doesn't like a good beat, eye candy and suspense? My hope is that it doesn't turn into a habit of Indian cinema goers to prefer this type of film over something with more meaning and reaches a deeper part of the viewer. Something like "Kabhi Kushi Kabhi Gham".

Handsome Australian pace bowler Brett Lee has been a favourite with Bollywood and Ad read more

In his latest blog, actor Aamir Khan talks about a certain Shahrukh licking his feet.

Well, the verbal volleys between the two leading Khans continue as Aamir resorts to subtle banter in the latest entry

The star of Ghajini (Hindi) is presently taking a break from work due to his hamstring injury and is relaxing in his “favourite place on earth”, Panchgani, with family and kids.

Aamir writes: “I’m sitting under a tree, on the edge of a valley, approximately 5000 feet above sea level. The river Krishna flows far below us snaking its way among the Sahyadri mountains. A cool breeze is blowing, jannat ki hawa (breeze from the heavens), as my mother calls it. Ammi, Ira and Junaid are by my side and we are in the middle of one of our favourite board games ‘Settlers Of Catan’. Shahrukh is licking my feet and I am feeding him biscuits every now and then. What more can I ask for?

“Now, before you jump to any conclusions let me add that Shahrukh is the name of our dog. And before you jump to any further conclusions let me add that I had nothing to do with naming him. In fact Shahrukh is the dog of the caretakers of our house. When I bought this house it came with the caretakers and their dog! Apparently Shahrukh (the actor) was shooting for a commercial in this house a few years ago, and that very day the caretakers bought a pup…, and named him Shahrukh. What are the chances of me buying a house which comes with a dog called Shahrukh!!!

“Some of my friends claim that I bought the house just because of the dog. I would have to be a serious fan of Shahrukh’s to want to do that. Your guess…

“All I can say is I’m waiting for him to come over.”

Then Aamir goes on to talk about his healing injury and how he would love to learn para-gliding when he recovers.

But Khan ends his blog abruptly with: “Well Shahrukh is once again begging for my attention, so let me get back to him. He is smelling too much, I think he needs a bath. Heel boy, heel.”

We wonder what Shah Rukh Khan, the actor, would say to that.

Aamir Khan’s blog can be reached at www.aamirkhan.com.

Related
Aamir Khan
Ghajini (Hindi)

उस संपत्ति को कोई लाभ नहीं है जो कुलवधू के समान केवल स्वामी के स्वयं के ही काम आती हो। उसका उत्तम उपयोग तो तभी संभव है जब वह नगरवधु के समान दूसरों के काम भी आये। राहगीर भी उसका उपयोग कर सकें।

वर्तमान संदर्भ में व्याख्या-आजकल सभी जगह संपत्ति के संग्रह की प्रवृत्ति लोगों में बहुत है। जिसे देखो वही संपत्ति बनाने में लगा हुआ है। हां इसके साथ लोगों में यह प्रवृत्ति भी बढ़ी है कि वह संपत्ति किसी अन्य को सुख प्रदान न करे। अपने समान धनिक का तो वह स्वागत करने के लिये तत्पर रहते हैं पर वह आते नहीं और निर्धन का आना उन्हें स्वीकार नहीं। इस कारण उनके घरों  की सारी सुख सुविधाएं केवल उनके स्वयं के उपयोग की होकर रह जातीं हैं।

लोगों ने अपनी कालोनियों में सरकार द्वारा पेड़-पौघों के लिये छोड़ी गयी  जगह तथा प्याऊओं पर अतिक्रमण कर लिया है। उस कालोनी में अपना सामान बेचने आने वाले गरीब लोगों और वहां से गुजरने वाले पथिकों की छाया और पानी की सुविधा का अधिकार छीन लिया है। इससे कोई वह भी सुखी नहीं क्योंकि उनके वैभव को सराहने वाला कोई नहीं होता। कोई भी अपने घर के बाहर प्याऊ लगाना नहंी चाहता। ऐसे पेड़ काट देता है जो राहगीर को शीतलता प्रदान करते हैं। केवल अपनी संपत्ति का सुख स्वयं उठाने से कोई आनंद नहीं होता यह बात स्पष्ट रूप से समझ लेना चाहिए। उसका आनंद तभी है जब हम उसको दूसरों के साथ बांटे।

To begin with I am happy that I haven't seen 'A Few Good Men'. The benefit is that I can't compare the two films and can review the film on its own merit. Everybody who has seen 'A Few Good Men' says that the makers of Shaurya have blatantly lifted the plot and screenplay from the Tom Cruise starrer. I would personally compare it with a play that I saw this winter by the name 'Court Martial' directed by Arvind Gour. The difference was that in the play the victim was a Dalit and in this film he is from the minority community.
Let me start with the frivolous and not so important things first- The film begins with an engagement ceremony. Like so many other Hindi films in this one too when you show a woman from Delhi you show a fat punjabi aunty dressed like a Christmas tree. First of all, the Delhi population consists of communities other than punjabis also and secondly not all punjabis dress up like that. The punjabis I know have excellent taste in clothes.The writer was definitely not from Delhi because the woman I am referring too says that she bought her saree from 'Anarkali' in Chawri Bazaar. Chawri Bazaar is a wholesale hardware and building material market in Chandni Chowk in Delhi.
Shaurya is a well-made film and revolves around a court martial. Captain Javed Khan, played by Deepak Dobriyal, is charged with killing a senior officer. He refuses to speak in his defense. Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends are assigned to fight the case. It is believed to be an open-and-shut case but after investigation it turns out to be a shocking case of communal prejudice involving Brigadier Pratap Singh played brilliantly by Kay Kay Menon. All the five major actors - Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba have done an excellent job. I am biased as a Rahul Bose fan but this performance easily ranks as one of his finest works. Deepak Dobriyal is from a theatre background and the maturity with which he has handled the role clearly shows that. Amrita Rao had a small role which she handled well. Seema Biswas is as natural as ever and Minissha looks real.
It is a bold attempt and the film deserves to be tax-exempted. I loved the film and I would reccommend it to all the readers.

]]> http://pr3rna.wordpress.com/?p=519 Wed, 26 Mar 2008 08:05:40 +0000 pr3rna http://pr3rna.wordpress.com/?p=519

Have you ever seen a Hindi movie in which all the 3 male protagonists are villains? Out of the three female characters one is a vamp, one has shades of grey in her character and the third one is a brainless beauty. This is what makes Race different!

It is a fast paced thriller.The movie keeps you hooked to your seats till the end. I couldn't guess what is going to happen next. Full of surprises till the last scene. I would not like to disclose the story .The performance of Saif Ali Khan, Bipasha Basu, Anil Kapoor and Sameera Reddy is not exceptional. Akshay Khanna's performance was amateurish. The music was good especially “Pehli nazar” by Atif aslam. If you don't expect too much from the film, you won't be disappointed. Don't go expecting logic, just look for entertainment.

I admit it. I love Hindi films. Not everything about them, mind you; nor all of them. I love the music, the dancing, and the silliness. If those elements are well taken care of, I can easily forgive what tends to pass for plot, dialogue, and acting.

Since the dance and music makes-or-breaks a Bollywood film for me, it can come as no surprise that I’m a big Madhuri Dixit fan. No one dances like Madhuri. She evokes classical discipline and idiom, while projecting a hip, sexually explosive athleticism. Her movement is always effortless-seeming, balanced, grounded, and flowing. This utter lack of strain permits her to remain engaged with the camera as an actor, even while in the midst of the most intricate, rapid, demanding dance sequences. And she has the most naturally expressive hands since Margo Fonteyn.

Before her retirement to marry and have children in 2002, Madhuri occupied that awkward, transitional, late adolescent period of Hindi films when item numbers (as the dance segments are called) were in the last stage of morphing from the chaste, dance-around-a-tree-thing to the pop, hip-grinding, highly sexualized choreography that titillates the otherwise repressed, prudish audiences (while not alarming the film board censors). She was just what choreographers needed most: a gorgeous leading lady and stylish dancer, exuding smoldering eroticism while operating within the bounds of taste and refinement.

As the ads say: Madhuri Dixit is Back!

So it was with tremendous anticipation and high expectations that my friends and I went to see Aaja Nachle (“Let’s Dance”), Madhuri’s recently released comeback film, while passing through Kolkata on vacation last week. (Sadly, we don’t get any Hindi films in Pondicherry; only Tamil.)

The film was exactly as expected: execrable, but for the magical moves of Madhuri -- balancing out to a wonderful night at the movies.

In the season of time travel in Bollywood, Sudhir Mishra’s Khoya Khoya Chand, is another tourist. Farah went no-holds-barred, irreverent retro in Om Shanti Om. Sudhir Mishra veers off in a different direction. His eyes are reverent, nostalgic almost awe-inspired. Who isn’t by the pristine, sepia-tinted image of Bollywood when actors, directors, lyricists, composers and other associated technicians had idealism, madness, got drunk, and were unapologetic about leading the life they lead?

KKC is an Insider’s film. Somebody who knows the mores of the industry. The vicarious twists of destiny that an artist is vulnerable to...human and divine. The crest of success and the lows of failure come unattended and the best laid plans are unwoven overnight. Where ambition reigns supreme and compromise is often everybody’s middle name. Where friends and enemies don’t know the definition of either word. Where love is as vacillating as the fortunes at the friday box office.

Mishra knows about all of this. Mishra is also good at something else. History. History and his own place in the space time continuum. He knows the pulse of the time, for sure. Ye Wo Manzil To Nahin and the loss of Nehruvian/Socialist Idealism and Innocence. HKA’s romantic look at the 70’s was a follow up to the darker YWMTN, with a little bit of hope thrown in at the end.

KKC once again locates its story and characters in the Past. A past that is innocent, idyllic, romantic. The characters are all an amalgam of your favourite heroes and heroines from the past. Think Meena Kumari, Madhubala, Nargis and many more. The same with the heroes, directors, script writers...your basic mix of all exploited, angst-ridden, mis-understood, man on a mission kind of character whom we love to see, root and clap for but will never become one. Very appealing on the stage or screen.

So we enter the world of Nikhat, Zafar, Khosa the producer, Prem Kumar, Shyamol, Ratan Bala, Nonida etc. We revel in this world...a world where the Bachnalian spirit seems to rule. Where success is the only mantra and men and women, inspite of their good intentions are seduced by their artistic higher-calling, money, security or plain old weaknesses. Such good fodder where all men and women are morally ambivalent, possibly corrupt but in the end they all possess a halo of...being human.

So we go through the gamut of emotions that artists supposedly undergo...elation, rejection, artistic bouts, the search for one’s muse, unresolved grief and unannounced epiphanies. The world in KKC follows a cyclical nature. You love, you lose, you regain love. You give a hit, you make a flop, you are banished and then you are welcome once again. A friend turns into a foe, an enemy and then becomes a friend once again. The large hearted producer becomes a miser, abuses and then again regains his old self. The casanova hero exploits one woman, falls for another, is unfaithful, has a golden heart. Wonderful world of people who are all fallible, human, make mistakes and are therefore identifiable.

So all the characters in KKC are good. The old Bollywood is populated by larger than life characters who wander, waver and then redermption visits them. Everything and everyone is hunky dory in KKC. and Mishra’s world. There are no villains. But so does Ray’s films. So Ray and Mishra are equals in their love for their characters and therefore make great films. Alas, thats not the case and thank god it is not that simplistic.

What is KKC? Is it the search for love? Both Zafar and Nikhat are abandoned...Zafar by his father and Nikhat by her mother. And both know that they are made for each other. The moment they resolve their personal demons of ambition, self-destructive death – wish and selfishness, they would have gained their paradise.

The film ends on an orgiastic high for Nikhat before the tacky card comes and announces that Nikhat died in a years time. So the film, if I understood correctly, was set up for the realization of love between its two main protagonists. Like any good story, the hero and heroine tumble and fall and then realize their catharsis via each other just before its too late.

Nikhat along her journey cries, laughs, acts innocent, manipulative, stands her ground, becomes a drunk, a lover and a mistress. Same with Zafar, her conscience, who takes a beating when ambition comes calling. Both love each other because of the other’s weakness.

Then why does the film fail?

There are a few scenes that makes one smile, wonder, laugh...Rajat Kapoor’s confession that he is a rake and can’t help it. Sonya Jehan teasing Zafar (the only other consistent performer along with Rajat) when he offers Nikhat’s role to her. Saurabh’s ‘Khosa’ in most of his scenes. And yet?

The CAST.

Soha looks pretty. Great styling. Costumes by Miss Anand are thought out. But these are external add-ons. Tulip Joshi was used brilliantly in Matrubhoomi, she had two and a half words or something. Soha here, unfortunately has to speak a million lines. Ironically, in Urdu, which is her mother tongue. And the labour and effort shows. If only she could have accented where it mattered? But she fails and how. Shiney has a different problem.

What you see is Shiney labouring to play the angst – ridden Zafar. Shiney the actor pops up time and again to remind us that ‘hello, here I was thinking about the time my father scolded me when I was in grade 2’ and I am using that emotion to say these lines etc. Shiney is overpowered and defeated by the very technique that great actors use in an almost subliminal manner.

He should have learnt from the other good performers in the film...Rajat, Saurabh and Sonya. But unfortunately the film doesn’t run on their shoulders.

What Mishra ends up is almost like an apology for the film industry? Just like the film industry is populated by semi-corrupt people who are basically all-right and can be your drinking buddies and all is forgiven when the hangover ends, same with the film. Look at it tenderly, kindly and forgive the follies and mistakes and compliment it for the passable, the moderate, the just-about and as industrywallahs say ‘for the effort’.

Will wait fot the next one Mr. Mishra.

Read what my colleague Subhasis says about the movie

To say Saawariya is a crappy movie would not be correct. Horrendously Ridiculous comes close, but it doesn’t really capture the essence of the absurdity that this movie is. After watching this movie I felt like tying up Sanjay Leela Bansali alone in a room, forcing him to watch a cockroach chase a spider round-and-round a water fountain for 3 hours. That too in blue light. Because seriously, that’s what this entire movie is. It’s two grossly untalented kids, who probably got kicked out of college for lack of attendance and ended up on this set to spend the rest of the day. And for the love of God, I can’t figure out why the whole movie is in blue! Maybe the director was trying to get every frame half-black half-blue so that the WinZip compression would work better to save some electrons, what with all the global warming and all. That’s the best explanation I could come up with, because nothing else can explain the lack of daylight (or plain light, for that matter) in this movie.Sawaariya is one long song with some breaks for dialog. And by dialog I mean girly giggling by the chic and some punch-me-in-the-face expressions accompanied by pig-like grunting by the hero. One wonders if all the actors are the props and the set is the real star in this movie. I came really close to concluding that the bridge-over-the-fake-river is the central star of the movie, because everyone of the other actors looks like they were made of rock. And the rocks had moss growing over them. And the rocks were painted blue.

बीस ओवरीय मैच अगर देखा जाये तो भारत में क्रिकेट को लोकप्रियता दिला सकते हैं और बाजार में एक बार फिर लोगों में इसके प्रति लगाव पैदा कर उसे भुना सकते है पर उसकी एक ही शर्त है कि भारत इस कप को जीत ले। महत्वपूर्ण मैच हारने के मामले में भारतीय खिलाडी बदनाम है और इसी कारण दर्शकों में खेल और खिलाडियों के प्रति जज्बा कम भी है। हालांकि लोग कहते हैं कि खेल है उसको खेल की भावना से देखा जाना चाहिऐ पर और यह सही भी है पर जब इससे जुडे आर्थिक पक्षों के बारे में सोचेंगे तो यह साफ लगेगा कि जीत और सिर्फ जीत ही उसमें काम करती है, खिलाडियों को आर्थिक फायदा दिलाने में । सभी जगह एक नंबर को सलाम किया जाता है और दो और तीन नंबर वाले कहा जाता है कि'कोई बात नहीं अगली बार प्रयास करना'।

कल की जीत के बाद अगर लोगों में पुन: क्रिकेट के बारे में चर्चा शुरू हुई है तो इससे जुडे बाजार के लोग जरूर खुश हुए होंगे। आज मैं बाजार गया तो दुकानों, ठेलों और पार्कों के आसपास एकत्रित लोगों के मुहँ से इस बात में चर्चा सुनी -शायद कई वर्षों बाद। इसमें हर वर्ग का आदमी था-अब वर्गों के स्वरूप तो सब जानते ही हैं उनमें विस्तार से जाने की बजाय हम कह सकते हैं कि क्रिकेट के बारे मे पहली बार जन सामान्य के बीच चर्चा हुई। आर्थिक समीक्षकों की दृष्टि से कहें तो आज बहुत दिन बाद क्रिकेट का बाजार खुला।

बहुत दिन से क्रिकेट के लेकर लोगों में निराशा का भाव था और फाइनल में उत्साह का संचार तो हुआ है पर यह आगे बना रहे तो इसकी एक ही शर्त है कि भारत इस विश्व कप को जीत ले। वैसे मुझे यह यकीन है कि भारत इस विश्व कप जीत लेगा क्योंकि इसमें सब युवा खिलाड़ी हैं और उनमें पूरी तरह एकजुटता का भाव दिखाई देता है जबकि पिछले एक दिवसीय विश्व कप में गयी टीम के बारे में किसी को विश्वास नहीं था और खिलाडियों के मनमुटाव की चर्चाएं भी सार्वजनिक रुप से हो चुकीं थी। फिर उसके अनेक खिलाडी अनफिट थे। जैसा कि मैं कहता हूँ कि क्रिकेट खिलाड़ी की फिटनेस का आंकलन उसकी बैटिंग और बोलिंग से नही बल्कि उसकी रन लेने के लिए विकेटों की बीच दौड़ तथा क्षेत्र रक्षण करने की फुर्ती से देखा जाना चाहिऐ और मुझे इस टीम में इस दृष्टि से कोई कमी नहीं दिखाई देती। मेरी इस टीम को शुभकामना है कि वह जीते और देशवासियों का मनोबल बढाए जिनके जज्बातों पर उनका और इस खेल का भविष्य टिका हुआ है।

तुम चाहोगे कि
काम सब रामजी करें
नाम तुम्हारा हो
दूसरों के यकीन और भक्ति की
परवाह नहीं
बढाना चाहते अपना व्यापार
दिखाते है लोगों को सपने
लक्ष्य का पता नहीं अपने
रामजी के नाम से बड़ा नामा
क्या करेंगे लोगों का भला
उनकी नजर में है बसता है अपना ही परिवार

रामजी ने कहा
'मुझसे बडे हैं भक्त मेरे
बिना लालच और लोभ
मेरी भक्ति के भाव में पडे'
ऐसे भक्तों की शक्ति अपार
जिनका कुछ लोग भी करते व्यापार
जो अभक्ति में देखते फ़ायदा
वह भी लेते रामजी का नाम कई बार

कहैं दीपक बापू
सच और झूठ का पता तो रामजी जाने
पर हम तो उनकी शक्ति को माने
भक्त तो नाम लेते हैं
अभक्त भी लगाते पुकार
पर उनसे भी क्या कहें
कहीं एक क्षण भी हृदय से याद किया
तो हो जाएगा उनका बेड़ा पार
रामजी की माया है अपरंपार
अपने भक्तों के दें भक्ति
और अभक्तों को माया के चक्कर में
ऐसा फंसायें कि घूमें बेकार
इस धरती पर ही स्वर्ग बसाने के चाह
अपनी देह के अमर होने का भ्रम
व्यापार ही जिनका धर्म
भक्तों की भावनाओं बेखबर
जिन्होंने तय कर लिया है कि
अपनी दैहिक शक्ति का प्रदर्शन दिखाएँगे
रामजी के अलावा उन्हें
कौन समझा सकता है कि
यकीन कर लो
कुछ पल हृदय से भक्ति कर लो
रामजी तुम्हारा भी बेड़ा पार लगाएंगे

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